Those of you who catch my livestream (oh look shameless link) know that I can have a bit of a temper, especially when it comes to internet critics and comics. If you caught it last night, you heard my basic philosophy: critics can go screw themselves.

BUT.

That statement needs clarification. Webcomic artists, writers and creators have all encountered the situation where someone, some anonymous internet asshat, says something mean about our comics.

Well, let’s draw some lines here. It’s the internet, and everyone is entitled to their opinion.

These opinions may even be completely correct.

The problem about being correct is relativity. Contradictory arguments may both be correct. In artistic endeavors, it’s pretty rare in my experience that any opinion is absolute in correctness excepting in technique and craft (the how, not the why or the meaning).

For this article, I will define an asshat as an internet critic who refuses to concede the relativity of his or her argument. Asshats believe their opinions are the only “right” opinions out there.  Asshats believe you should be grateful for the hork that spews forth from their fingers on the keyboard.  Asshats crush, they don’t build up. They don’t merely point out a weak or crumbling or mis-hewn foundation stone of an “artistic building,” they take a bulldozer to it. Oh look, metaphor.

Artists (literary or visual) are often very sensitive, thoughtful  folks, whereas internet asshats are sensitive, antagonistic, folks.  They remind me of dogs, in the sense they often posture and act tough in the face of a threat, but the second you show aggression back, you are the bad guy. How dare the artist who puts their work online for the masses to see (and therefore, formulate an opinion) not agree with that opinion?! That asshat put a lot of time (~5 seconds) and effort (typing at work) and money (that internet connection is expensive!) into that opinion! Bite back, and that artist is rude. That artist doesn’t know how to accept criticism. Criticism is part of being an artist! You can’t improve without criticism! The asshat is trying to HELP you!

Bull fucking crap.

There seems to be confusion nowadays between what is justifiable criticism and what is assholery. Criticism is a valid opinion (yet still an opinion, refer to figure 2!). Criticism can be given by one whose experience or education gives him or her insight into the weaknesses or strengths of your work.  Criticism can be positive (“this is good, continue” or “this example might help with that area giving you problems”) or it can be negative (“this is does not work. The absence negative space detracts from the flow of your sculpture.”) Criticism is NOT the opinion of people who have no experience.  I like to call that “stupidity.” How about an example outside the artistic field:

How'd you get in here anyway?

 

Would anyone blame that doctor for having that man thrown out of his OR? No. Because you all know the doctor is right: Asshat Man (man, I should’ve put that hat on him…) is in fact, an idiot for saying something so stupid and negative. What is the basis of Asshat Man’s assessment anyway?  Sure, Asshat Man thinks from his relatively-correct position that he is right. He may be trying to help that surgeon. But since he has no experience in that field, he should know he should keep his mouth shut, and that his opinion is likely worthless. But it’s the internet, and everyone thinks their opinion is worth something, right (as I write this very opinionated article)?

I realize that some artists out there might be pulling out their hair. Artists are often taught to accept any and all criticism gracefully and never disagree. That’s how they roll in art school, or at least, how they did in my classes. Well, that’s insane.  We as humans have this wonderfully large organ scientists like to call a brain. Brains are capable of filtering information. We have internal bullshit-O-meters that tell us when someone is saying something worth listening to. We also have the right to tell someone if we want to that they are, in fact, an idiot. For the sake of [virtual]  interpersonal relationships however, there is just far less drama involved when you roll with that punch and don’t punch back.  If that’s what you choose, so be it. Always remember though that not everyone who gives you an opinion is worth listening to. Also remember that if someone punches back, no, they are not doing anything wrong. I have seen so many artists shot down by other artists for fighting back against the asshats, until they finally concede that “their behavior was unacceptable.” Well, folks, it is their right to defend their own work and when such a defense is done logically, rationally, and with an emotional distance, it is powerful indeed.

And that’s where we get to the crux of the matter.

Emotional distance.

Damn it hurts when an opinion comes hurtling our way, an opinion that agrees with that little voice deep down inside that has been telling you for ages, “you’re not good enough.” This article isn’t about how to come to terms with that little voice. On this subject, I will only say that the little voice can be right. And it can be wrong. See figure 2. In the face of that asshat inner voice though, I’m pretty sure no artists since the days of cave paintings have EVER been fully satisfied with their work. There is always a weakness. Always something that could have been done better.  We’re never going to attain perfection, and it just hurts to accept “good enough.”

But you know what cliches are? Stories that have been passed down in our folklore so often because humans LOVE that story. Because it resonates, it’s part of our cultural make up.

Who is Mary Sue? She’s that girl other girls WISH they were. She’s what we see ourselves transforming into.

You know what your painting looks like to someone with less experience than yourself? AWESOME.

There is nothing new under the sun.

There’s always someone better.

Don’t get held up on being so original or doing everything perfect, because that’s all you’ll get–HELD UP.

Rambling again, aren’t I?

Now, let’s look at our example again from another perspective.

"Thanks for the help even though you made me feel bad about my skills and myself...dick."

What I’m trying to say here is that there are some people worth listening to, worth thanking, no matter how they make you feel with their criticism. And there are people who are not in fact entitled to have their opinion heeded. It is up to you, the artist, to determine who that is. In short, it’s the person with experience, with skills to back it up or suitable education in that area. Anonymous internet asshats do not fit this bill.

When should you actually care what an asshat has to say? When that asshat is paying for a product. If that asshat is paying your bills, you had better listen well and be polite about it. We’ve all been there–the customer is always right, even if they are a jerkface.  Bend over and smile. But. If that asshat is directing his or her assholery toward your absolutely free webcomic that you spend all your free time working on; if that webcomic is your dream and it makes you happy and YOU YOU YOU like it just fine, tell that asshat the truth their parents or teachers or friends obviously never did: they are entitled to their opinion, it doesn’t mean they are correct or even that you have to listen to it.

When do you listen to people who know what they’re talking about? All the time. And it will hurt, and that person probably doesn’t even realize how much it hurt. That person probably actually tried to phrase the criticism in a happy, helpful, way. And it doesn’t even matter, because of that whole artist-perfectionist thing.  Criticism to us is synonymous with failure. Failure is nightmare fodder for us. But you are the only one who is capable of changing your attitude about this.  Criticism is NOT failure. Receiving criticism doesn’t mean your work is a failure. You know what it means? Someone out there disagrees with you. This person may have experience or degrees or skill to back up their opinion, but, ask yourself, is what you are doing WORKING regardless? Do you have a readership, and is that readership growing? Are the majority of the comments or feedback positive? Listen to the critic if you want to. Are you not getting any feedback other than negative kind? Well, something is not working, and that should be clue enough.

Not every story or comic is a gold mine. People whose work has a readership in the dozens envy those with the readership in the hundreds who in turn envy those with 1000′s and so on.  If you’ve got that comic you’ve been working on for Quite Some Time and are depressed because your readership isn’t growing, listen to the critics (but not the asshats).  Only when you walk into the arena of competition should you care enough to change what you’re doing even when you don’t want to, or if it’s a pain, or requires more work or study for you. If you are in this for yourself, for an artistic outlet, for fun, and don’t care about the “money or fame,” (hahahah whatevs) screw those fucking asshats.

Ending on a positive note, FTW.

Making money: downloadable content

Posted April 20th, 2011 by KEZ

Long time no article.

I’ve reached a point in my life where I need to make money on a project if I spend lots of time on it. Comics definitely qualify. Therefore, I’ve been experimenting lately with different ways to make money and will [hopefully] release a series of articles on this subject. The first thing I’m going to touch on is downloadable content.

What makes downloadable content attractive to readers/consumers/buyers: I think the main draw must be instant gratification. Let’s face it, in this era of constant digital updates, every second counts. When content is immediately available after purchase, no wait for shipping (no shipping COSTS), no lines at a store, this is an immediate advantage.  Now, apps for iPhone or Droid can satisfy this demand a lot more professionally, but I think the majority of us webcomic creators are not programmers (nor are willing to pay a programmer to make an app), so I’m mainly talking about forwarding to a specific file after purchase through something like paypal or google checkout.

What makes it unattractive: as always, many people will feel digital content isn’t worth paying for because it isn’t “real.” There’s nothing tangible. Then there’s getting over the feeling of entitlement that so many webcomic readers have. “What do you mean I have to pay? Webcomics are free! You are a horrible person for asking for money! As a reader of your work, I deserve all content you make for free!”

I’m going to say this right now: if you are trying to make money with webcomics, you need to stop thinking of yourself as a mere hobbyist. When you produce content, you are thinking about ways to make money off it. You don’t accept donations in return for content–you are PAID for the content.  This means you FOCUS your efforts where there is money. You can try all the tricks in the book, but if your work doesn’t reach a large enough group of people, or conversely, a small but extremely loyal group of people, you CAN’T make money off it. Who is there to buy it? Therefore, everything that follows in this article is keeping in mind that if your basic content isn’t good enough, this will not work at all for you.  No one can make money off a …sucky… comic no matter how they advertise it.  And if that’s your case,  then I recommend scrapping your current idea, brainstorming something hard, and trying a new idea.

What I did: What it Takes is a comic I started just over a year ago. From the ground up, it was tailored to gain an audience fast and make money. It’s updated 2-3x weekly as a story-based strip. That was my basic “equation:” multiple updates, short production time, apocalyptic, female lead, rated R.  From what I observed in “successful” or popular comics, that was the way to go for me. Now, if I could pull off humor, I would have gone that route instead of story-based, but I just suck at jokes.  I don’t claim in the slightest the comic is any good or that I can live off comics. On the contrary, I’m a grad student in immunology, I plan on making my living in science and medicine, and I’ve had no real education at all in publishing, sequential art, or marketing. I really love comics though, so I want to keep making them, and I don’t have so much free time that I can continue to make everything without getting paid a bit for it. And, I just so rarely see ANYONE post about successes or failures when it comes to webcomic $$$ that I’m willing to share my experience. But it’s silly qualify my statements by telling you what I don’t know, so let’s get on with this.

$1.50 Wallpapers: this has been an absolute failure.  In six months, with 4 different wallpapers available for download, I have sold 4. Three of them were to the same person. According to google analytics, I have over 10,000 visitors who have returned >50 times this past month, and over 20,000 who in total, have visited over 10 times this past month. Are those numbers real? I don’t think so. Comic Rank places The War of Winds at ~1000 readers, and that’s more like it.  I’d estimate on pageviews alone that What it Takes probably has around 5000 readers. I mention readership numbers here because it’s been my experience that 1/100-1/1000 readers will ever buy anything online.  Was it the content of the wallpapers? The price? Did I not advertise their availability enough? I do not know. All I know is that I won’t be doing that again, at least not for awhile.

Story Extras: contrary to the wallpapers, having extra stories available for download has been a great success.  Way back when I posted about a 3-page epilogue I made for my short story Not Alone, which is available for $3.39. Now, that story has a super small audience, but 30 purchases of the epilogue have been made since that started in 2009. Total made: ~$100. That’s pretty paltry. Then again, that comic really sucked, but it drew upon a pre-existing, larger audience since it was a side-story.

For What it Takes, I wanted something a bit less permanent, and something I could do again in the future. I offered an 11-page extension of a story arc for $5, the key being that this extra content was just that–extra. The quickest way to piss off your readership to have a bunch of the story for free, then demand payment for a portion that is integral to the story. It would be like reading a book for free, and then being told the climax must be bought. It’s holding your story hostage if readers were not made aware up front that they’d have to pay. Now, if you tell them at the beginning, “hey, this is a preview, you have to pay for the next part” that something all together different. I guarantee however, if you do that, you will have a tiny readership until attitudes about paying for online content change dramatically. There is more than enough competition out there for entirely free stories that very few people will even start reading a webcomic knowing they have to pay to view key segments.

Anyway, the extension has been available for 5 weeks and has sold 35 copies. That’s $175, which, for a few hours of work, isn’t bad. On top of ad revenue and book purchases, I can make decent pocket cash each month, around 2-300/month. That’s my gas, electric, internet and nice trip to the supermarket right there. In the grand scheme of things however, it’s nowhere NEAR self-sustaining.  Again, you’re reading about the exploits of a rank amateur.

In the future, I plan on improving upon my downloadable extension scheme by including other extras like color, behind-the-scenes, little secrets to the story…just more incentives for purchase.

I am also considering offering chapters of my comics available as a written story, specifically a PDF.

I welcome your personal experiences with downloadable content if you have them! I’ve only tried two things, and I’m sure there’s tons I haven’t thought of.  The next article will be about print books as a small-time indy self-publisher.  Thanks for reading.

 

Please excuse the dust…

Posted February 2nd, 2011 by KEZ

…had to reinstall WP, forgot to back up my theme. Will get things back together shortly!

InterventionCon Debriefing

Posted January 19th, 2011 by KEZ

(Another convention report that’s been sitting unpublished forever)

I attended Intervention in Rockville, MD, which was September 10-12th 2010. This was Intervention’s first year, and I must say, it was quite good! It was very well organized, had great guests (Pete Abrams, Dirk Tiede, squee!), and was at a great location. The only thing Intervention suffered from was the ill fortune of being the same weekend as SPX in the same city on the same weekend. So. Crowds sucked. But they WOULD have been great otherwise. Many thanks to Onezumi and the volunteer staff for their monumental effort!

I was there with half a table, sharing it with my friend Peg Fisher, who could not be there in person to sell her merchandise.  Straight down our row was Pete and Katie Tarkulich of Bardsworth and Fairy Magik, followed by Alex Heberling of Garanos and Alex’s Guide to a Life Well-lived (accompanied by her <3 Christopher Johnson), and then Mike Donohue of The Cow Comic. The only element missing from our little zone was Trevor Kent of Kyoudaikido Soldier Chromocorps, who could not be there with us. :( Yes, yes, we hang out at conventions in our own awesome crowd. Because we are awesome. And stuff.

Here’s our table, with my very cool sister behind it. We bring tea. And teapot. And mugs. (So, if you’re ever at a convention with us, bring a cup and we’ll share <3 <3 <3).

And here’s a close-up of some stuff:

Those book marks up there I ended up giving away as business cards, since I ran out. Bad move on my part not to get more. This situation has since been rectified.

Met some awesome people. Dirk Tiede gave me like a 20 minute talk about how he does his fantastic settings. His work is phenomenal–and all on paper too!

I was very excited to meet Kat and her hubby, of Sunset Grill, as well as Mancer from Omega! I think that was the first time SpiderForest members met up in person.

Kez 'n Mancer

Alex Heberling

Anywho! This convention has serious potential, it just didn’t live up to it this time around.  A single new face in the paltry crowds was like chum in the shark-infested waters. HE MIGHT HAVE MONEY TRY TO SELL HIM SOMETHING ARRRGHH. Ahem.  Like I said before, other than being new, it was the same weekend as SPX, and there was just no competing with that huge, established, expo. It wasn’t even Intervention’s fault either–SPX moved their date to the same weekend after it was booked by Intervention.   This coming year, Intervention will have some serious clout, and I look forward to re-attending. It may well turn into the Connecticon of Maryland, especially if it’s kept webcomic/weblife-focused as opposed to print. Now, don’t get me wrong, print comics are all well and great, but generally indy print comic fans travel in different circles from webcomic fans, and we webcomic creators need more webcomic-focused cons!

Finally, mad props to Philip Hofer of Comicpress for his awesome company, and for snapping this pic of me that I really love. That dude ran some great panels on how to wrangle Comicpress, so people really interested in maximizing their install should keep their ears to the group for 2011′s comicpress panels!

UBcon Debriefing

Posted January 19th, 2011 by KEZ

I’ve been slacking on con reports lately, and I’ve been to a bunch.  This post was already written up just never published, so I’m putting it out now.

2010 was first year where I took convention-going seriously. I’m attending to make a profit (not just have fun), been doing my best to make contacts with others serious about their craft/making money, doing panels for the first time, etc.  Here’s the lo-down on what happened, what sold (and what didn’t), and what I’ll be doing differently next time. This is not really a post for people interested in attending conventions as a guest, or even as an artist just interested in networking, not selling. This is my approach to making money with comics at a convention, period. Wish I had pics, but no camera.

UBCon

This is a 3-day anime and gaming convention put on by the University of Buffalo (where I attend). I was offered a free table, it was 10 minutes from my apartment, and therefore my overhead was EXTREMELY low. People interested in going to a convention (to sell stuff) for the first time, I highly recommend getting your feet wet with the local, inexpensive contentions.

Since I had a lot of extra merchandise from my previous convention season, I did not purchase anything new for UBCon. I had a 6×2 table banner, 4 different 11×17 posters, one miscellaneous print, 4 T-shirt designs, and of course, my stand-alone short story comic, Not Alone. Prices ranged from 5 bucks for the one print to 20 bucks for a black, 2-color T-shirt.

Demographic: 18-24 college students for the most part, probably 60:40 men. Attendance was about 600 total all three days. Most people were serious anime fans, but there a large majority of zombie survival fans. Very few traditional comic book fans that I was aware of. I’m a big fan of knowing the demographic of a convention, because if your merchandise doesn’t appeal to them, how are you going to sell anything?

What sold: Sold out of $5 Zombie T’s (10 in total). I had a defective print run, so I got a batch for free and a replacement batch at no charge. The shirts were quality, the ink was just a bit splotchy and I was unhappy with the quality. Rest assured, all buyers were made aware of the reason the shirts were $5 instead of $20. I sold 3 $10 Not Alone books, 1 $15 T-shirt  and 2 $10 prints.  Total profit of $105…but promptly spend $15 of that to fill my gas tank. It’s pocket change, but all the merchandise was paid off, so it was complete profit.

What did not sell: My posters have been selling very poorly. The first convention I brought them to, I barely sold any. There was a question whether the images did not appeal to the demographic but were good, or whether the images were just…bad. I’m leaning toward the latter now, and will probably just try to move this merchandise at 1/2 price, get rid of them, and come up with new prints.

What I would do differently next time: Better prints, per the above. More pretty things with humans and less pretty things with animals (or maybe I just need to man up and attend a furry convention!) Hand-made goods were pretty popular at this convention, especially creations like Bags that Bite (they were so coool!) and crocheted monster hats  (I have a business card from this, just not on me. Will link later). I am going to try hand-made figurines (at around $20 each). I don’t know of what yet, but it’s something I want to try.

FOR IMMEDIATE RELEASE

Contact: Karen KEZ Howard

Email: warofwinds@gmail.com

SPIDERFOREST WEBCOMIC COLLECTIVE ACCEPTING APPLICATIONS UNTIL JULY 24TH

The SpiderForest Webcomic Collective is accepting applications for new members until July 24th. SpiderForest accepts applications only twice yearly, in January and July, for the first three weeks of each month. Current members vote on each application for entry. Applicants are notified of the collective’s decision the first day of the following month.

SpiderForest (SF) is home to over 30 comics of multiple ratings and genres. Started in 2004 by Ran Jado, SpiderForest ever since has been a free and quality host for a diverse array of webcomics. In 2009, SpiderForest voted to allow self-hosted applicants to become full members without moving to the SF server. SF is different than free hosts like DrunkDuck or Smackjeeves because it allows members FTP access and full control of their site; SF has a strong system of  cross-advertising via the mandatory rotating header; there are NO MANDATORY ADS; members may use any Content Management System they wish; and lastly, the collective determines new members, not the administrator.

At SpiderForest, interested applicants should be aware that the quality of the application has a big impact on votes. Current members not only look for a good comic, but also applicants who would make good members.

Interested parties can read more and apply here (http://spiderforest.net/apply).

Get Your Filler Out of Your Archive

Posted February 17th, 2010 by KEZ

For cripes sake, please, take your filler out of your archive! I beg you!

Please consider, if you are a new reader checking out this AWESOME-LOOKING comic and you go straight to the first page….and it’s some sort of “hey I’m new at this and I’m talking to you and aren’t comics great these are my scribbles but I thought you’d like to see them anyway.” What would you think? A: “LAME.”

Your first pages in your archive are a make-or-break experience for a lot of readers. Many new visitors will just LEAVE if they have to click through 5 or 6 diatribes of your “experience.” Never, ever, interrupt the reading experience for sketches or “page is late” or “page in process” announcements. Once that “page in process” is finished, that notice had damn well VANISH completely.

Fan art is no different! If I’m reading this intense action scene that is interrupted quite suddenly with fan arts due to “unplanned hiatus” from a year prior, do you think I’m going to be happy? NO! It’s the equivalent of a commercial in the middle of a movie. Does anyone here LIKE watching movies on a TV channel with commercials every 15 minutes? Are those interruptions not the most annoying thing on earth at that moment? YES JUST ADMIT IT.

Okay, okay, I’m a bit incensed about this, I admit. So, when IS it acceptable to have filler in a webcomic archive? Never, unless it’s the most recent update(s). Yes, if you have fan art, I’m all about showing that off. I personally really love to send people to the sites of those who spend the time making me a gift. But does that fan art stay in the archive? No! Never more than a week or two, tops. Then it is taken out of the archive and given an appropriate place on a gallery page.

What about “announcement” filler? Again, only your most recent update(s)! If your page is late, do indeed inform your readers that you haven’t shirked your responsibility, you haven’t died in a car crash, and a page is on the way. But once that page is up, that filler comes out of the archive! And even better, this notice should be in the “news” area of your site, not in the archive at all!

And finally, the case of “I’m so excited to make my first webcomic that my first pages in my archive are about my excitement and NOT my story”? Such a thing is done right <0.1% of the time. Breaking the fourth wall is something to do so very rarely it’s probably best not done at all except by expert, much like a demolition.

This same rule applies to side-stories in archives as well. Two separate stories should NEVER be in the same archive. If page 1 is “Amish Space Conquerors,”  page 2 is suddenly the side-story introducing the adventures of “Penny the Penguin, Best Friend of Amish Conqueror,” and these two stories go back and forth in the same archive…how is anyone supposed to enjoy or even follow either story (disregarding the absurdity of the stories used as examples here). Archive each story separately, with again, the only exception being the most RECENT update. Please note, this power should be used rarely.

If you are guilty of polluting your archive with commercials/filler, please, go clean it out now. There won’t be a single reader who will complain…except the one whose fan art you have just moved to the gallery. ;)

National Human Trafficking Awareness Day and the CCA

Posted January 10th, 2010 by KEZ

Hopefully you all will see this post, or something similar to it going around a LOT today.  Spread the word on your own sites (verbatim if you want, as I am), and please, donate to this worthy cause!  This comes from Lora Innes, the driving force and organizer behind the whole Comic Creators Alliance!

—–

“Never doubt that a small group of thoughtful, committed citizens can change the world. Indeed, it is the only thing that ever has.”

Monday, January 11th is National Human Trafficking Awareness Day. To participate, we formed the Comic Creator’s Alliance–a group of over eighty comic book creators (both web and print) who volunteered our artistic talents to raise money and awareness for this cause. You may not know it, but there are currently 27 million enslaved people worldwide- more than double the number of enslaved Africans during the trans-Atlantic slave trade. UNICEF estimates that 1.2 million children every year are sold into slavery, most of it sexual. The US Department of Justice estimates 16,000 victims of human trafficking are brought into the United States every year. Unlike slavery in the 19th century, what is happening today is happening in secret. So it won’t end until awareness is raised, and people like you and me take a stand.

So here’s what we did: each creator contributed an original drawing of one of our own female characters, and combined them into a single wallpaper image. The wallpaper features characters from The Phoenix RequiemGirls with SlingshotsEarthsongLooking for GroupShadowgirlsThe Uniques and four IDW Publishing titles: Fallen AngelThe Dreamland Chronicles, Love & Capes and The Dreamer, and lots, lots more! Donate today to download this unique, once-in-a-lifetime wallpaper. The Donations Drive will last for two weeks, from January 11th – 24th. All proceeds will be split evenly between Love146 and Gracehaven House- two organizations working on rehabilitation of victims and prevention of this crime.

To learn more about the Comic Creator’s Alliance visit www.comicalliance.weebly.com.  To learn more about the problem, visit http://love146.org/slavery. (Note: contains adult themes and actual accounts of sex slavery.)

—–

The wallpaper looks AWESOME! Even if it’s not something you want on your desktop, it’s something you should buy on principle. I already have the thing since I was a participant, and I’m still going to donate!

Host vs Affiliates vs Collective vs Publisher

Posted January 6th, 2010 by KEZ

Ever since Keenspot announced its dissolution, there has been much chatter on the web condemning comic collectives. The gripe is that Keenspot, the first, elite, webcomic publisher, decided to announce that they would no longer be accepting new members, and that the majority of comics would have to find a new home.  While I am not privy to the Crosby’s business outside of my dealings with the Xyliatales website, I understand Keenspot’s decision to focus on in-house properties (though I am perturbed at their actions regarding Kel). It’s a business move. Comics that are not making them money (or are not updating, or are not related by genre or audience) need to be dropped. Why? How dare traitorous Keenspot do this to all those comics that had been there for years? Because Keenspot is a publisher. It is also a collective. And a host. But it is these things IN THAT ORDER. The money comes first, and there’s nothing wrong with that. The web is a much different place now than it was over 10 years ago.

But I’m not really writing this article to talk about the Keenspot “fiasco.” I’m writing this to clarify some terms that are being used synonymously when they are quite different indeed. Since I started off with Keenspot, I suppose I might as well define what I’m talking about with “publisher” here:

A publisher is any business that creates products in large quantities to be sold (and in the case of online properties, quite often distributed). In Keenspot’s case, what was sold was pageviews. Those ads you saw on every page when you visited, those made Keenspot money. Keenspot took percentages from the Swag store and sold ad slots in the header.  The ads not only paid for the hosting costs of all those comics, but also made the Crosbys money.  A business is not magnanimous. What properties do not make money are only a drain on resources, and must be cut loose.  Since Keenspot was the first webcomic publisher, I understand how the dissolution of the network can upset those of us who still remember dreaming about “being Spotted,” but again, the web has changed.

Keenspot was (going to be using the past-tense here) also a collective, but only in an accidental sense of late. A collective is a group of people with the same, common interest who cooperate for the benefit of all. In short, members do better together than they would apart. A collective has nothing to do with revenue in a business sense. If money is made, it’s either kept by the person who makes it or is shared equally. Unlike a business, a working collective requires cooperative members, not just good products!  To visualize the difference between a publisher and collective, take a gander at Keenspot sites as compared to SpiderForest sites. SpiderForest is a collective (and the wonderful place that hosts my comics!) What do you notice? The focus on the comic and members, not SELLING a product.  Everyone self-publishes their own work. Is one better than the other? Well, that really depends on what you’re looking for! Just remember than a collective ≠ publisher!

Now in that previous paragraph, I mentioned that SpiderForest hosts my comic. So SpiderForest is not only a collective (cooperating, self-hosted sites), but ALSO a host. Hosts do exactly what they say: they provide a webpage and server space for comics. A host, however, is under NO obligation to commit to the betterment of the group. A host provides a service only, perhaps for a fee and perhaps not, and that’s where the relationship ends.  Examples of webcomic hosts include ComicGenesis and DrunkDuck. Now, I know what you’re thinking, “But Kez, both CG and DD have these completely AWESOME communities and we help each other out by cross-linking and forum posting and stuff!” Well, sure, yeah, but the host isn’t doing that…YOU are.   The host has no obligation to provide forums, and even if they do, it’s your choice to go there or not.

The last classification I’m going to mention is what we call affiliations. This is tight, exclusive relationship between a SMALL group comics committed to sharing traffic, who are not part of a collective (or simply a stronger relationship between certain members of a collective. What matters is that it’s exclusive).  An affiliation is more than a link exchange because of the commitment.  A great, recent example is Webcomic Bucket.  Some affiliations result in communities, some actually turn into collectives when the affiliations grow large enough.  The biggest difference in my opinion between affiliations and collectives is often the NAME. Collectives are branded, ex, I am a SpiderForest creator, my comics are SpiderForest comics. The collective may come first sometimes, and indeed, the SpiderForest header is at the TOP of the great majority of SF sites. In affiliations, there is little or no branding. If there is branding, it is always given less priority than the comic itself. No members of Webcomic Bucket proudly state their comic is a “A Webcomic Bucket Comic!”  There’s also the matter of shared resources. In a collective, members may rise or fall together because everyone is sharing their audience. In an affiliation, people may come and go, and it’s no big deal. Affiliations are more independent than co-dependent.

Anyone reading through this by now ought to notice quite a bit of overlap in these terms.  Many places can be listed under multiple names. Keenspot was a publisher, collective AND host; Spiderforest is a collective and host; ComicGenesis/DrunkDuck/SmackJeeves/WebcomicsNation/ComicSpace are hosts.  I want to reiterate here that I am not slamming any site or group for being one or the other term here. There IS no “better,” because it all depends on your goals.  This is article is just about classification. As a member of the SpiderForest Webcomic Collective, I got SICK of people bashing the term “collective” because of their fervor over The Keenspot Decision. Hence, I was inspired. Enjoy!

Webcomic CMS Review — iStrip

Posted December 21st, 2009 by KEZ

I dove headfirst into iStrip doing a website commission for The Sons Comic, by Daniel Escobedo. iStrip has been around in one form or another at least since 2005. It’s free, I know a few comics that use it (NN4B has since changed over to wordpress/webcomic, and I thought Crowfeathers used it at one time, not sure currently), and it is highly customizable. It also has a online interface for site/archive administration, news posting, etc. It works as advertised. However, I quickly found that the system was incredibly unintuitive. The read-me’s were a tome that took me ages to go through–because there was an incredibly in-depth explanation into EACH part of iStrip.

I have few rules in web development and design, but the most important one is just MAKE IT SIMPLE. iStrip installation and customization I found far more difficult compared to ComicPress customization. It doesn’t help that the iStrip admin is fugly as hell and hasn’t been updated in years. The system works, but damn is it complicated and clunky. It’s basically a wordpress system without half of the automation. It also uses the Smarty system, which seems to just be PHP with a different set of codes that you have to learn all over again. I don’t mind tag systems (I started out on ComicGenesis), but this…this whole system pissed me off. I felt like I was riding a bike with a stick in the spokes, and damn, I’ve use a LOT of CMSs over the years. But it is quite possible this is all just my personal, non-reproducible, experience. I can be thick when switching gears, I’ll admit. I will most definitely not recommend iStrip or use it again though.

What iStrip offers:

Instant archiving with properly named files (if you can find the damn script). It’s hidden and barely mentioned, but it exists.

Online news posting interface

Queue ability (but not able to upload multiple files to go live the same day. You have to date them different, and can’t retroactively add files without using the instant archiving script…which erases your news posts…)

Dropdown functionality

Template systems, much like WordPress

Typical navigation ability (first, previous, next, last, as well as a random button)

And more. It’s all listed on the site.

What it Requires:

You’ll need  PHP/Apache capability, and patience. Lots and LOTS of patience.

You do NOT need a mySQL database, so this may be a system for people without the ability to make or maintain one.

Bottom Line:

I do not recommend it. There are systems much easier to use, with upkeep and support (the main site for iStrip’s creator is non-functional, so I take it to mean there is NO support) , and with better, more up-to-date features. I give it a 5/10. It works, but it’s just not worth the hassle for what you get.

You can download it here if you want it though, and best of luck!